Gerd Ludwig continues his series on speaking to former Directors of Photography including Rich Clarkson. Clarkson was Director of Photography for the National Geographic Magazine from 1985 to 1988.

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Like Kent Kobersteen, I have spent much of my professional life moving on from an early role as staff photographer to a director of photography. My time spanned two successful newspapers and eventually, the National Geographic Society.

It included working as a contract photographer for a news weekly and the nation’s premier sports magazine, as well as the editor of a number of books and photographic projects. So from both sides of the fence, my career has been about the business of getting good pictures and then using them well.

So what did I learn in these various stages? And what should all photographers know?

This is about what directors of photography do, and how to use them well.

First, a director of photography is your friend — and your spokesman, your salesman and often, your mentor. But he is a middleman. His job lies between you, and the users of your work, along with a picture editor and various other layers of editors whose job it is to combine the visuals with words. It is a very competitive environment.

Some managing editors are brilliant manipulators of all the elements to tell a story most effectively, but often they can use help. Dealing with various magazine editors over the years, often a scene of negotiations and compromises.

To read the rest of the article, go to The Photo Society.

The Photo Society is a collaboration blog of National Geographic photographers, their work, and their opinions.

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Only in Texas. This was my first thought as I stopped at a convenient store near the Austin airport. I was preparing for a drive up to Waco for a photo shoot of Baylor University quarterback Robert Griffin for NCAA Champion Magazine.  Despite the temptation, I just bought a water and some sunflower seeds, but staring back at me were double deuces on ice just incase you needed one extra cold for your drive. Hilarious.
Between silos in downtown Waco, ridiculously good barbeque and a fun night out in Austin, we were still able to make some good pictures.

-Jamie

©Jamie Schwaberow/Rich Clarkson & Associates,LLC

©Jamie Schwaberow/Rich Clarkson & Associates,LLC

Often portraits, especially those slated for a cover, can be well involved productions with lights, assistants, and location scouting. For the Colorado Rockies first baseman, Jason Giambi, the concept for the August cover was kept relatively simple. One light source, that being the afternoon sun and a reflector to add the fill. The editors at the magazine wanted a final image that had a black and white documentary feel while utilizing the steel beams of Coors Field as a way to describe Giambi’s strength. Keep checking back as there will be a post soon about the more complex shoots described earlier. As always, thanks for looking.

-Ryan

©Ryan McKee/Rich Clarkson and Associates,LLC

©Ryan McKee/Rich Clarkson and Associates,LLC

I recently had a cover shoot down in Knoxville, Tennessee at the University of Tennessee for the quarterly NCAA Champion Magazine with a rower named Rachel Dooley.

As with a lot of shoots, we really wanted to photograph Dooley at sunrise or sunset. Luckily for me, rowers get to work early in the morning before class, so I was able to come away with a couple interesting shots that show off the nice early morning light.

-Jamie